Young Composers!!
May 9th, 2006 by jenh
Thanks again to Alex Ross for directing me to an exceptional student musician–this time 13-year-old composer Jeremiah R. Klarman. It is relatively common to encounter prodigy performers, but until now, the last prodigy composer I had heard of was Mozart. How many more young composers, extraordinary or not, would there be if music educators emphasized composing as much as they do performing? Many students are unaware that composing is a viable way of engaging in music. Often, teachers present composers as “masters” or “geniuses” and provide few opportunities for students to take on a composer role. Yet, composing is a profound means of sonic creative expression and a key way to explore the inner workings of music, thus gaining a deeper understanding of music.
A rebalancing of most music curriculums and a shifting of priorities must occur in order to make room for this vital aspect of becoming educated in music. My fourth- and fifth-grade instrumental music students compose music collaboratively and individually and perform some of the music on concerts. Inevitably, they play fewer large ensemble pieces and meet more often in smaller groups than as a band. The rich learning experience of composing and performing music in a chamber group or as a soloist is well worth it.
This is something that we have had in the UK music curriculum since the establishment of the National Curriculum in 1992. Teachers are used to integrating the three curriculum themes of performance, composition and listening/appraisal throughout their schemes of work, etc.
In respect of your comments about composition, the majority of educators in the UK are firmly of the belief that all pupils are beginner composers and this is a vital way of engaging them in musical activity. Sometimes this is with instruments; sometimes through technology; sometimes vocally - you get the picture.
If I am allowed a small plug, my recent book explores how you might support the work of gifted/talented musicians in classrooom teaching. Although it is written for the uk market, it would have application to your work in the USA and elsewhere. Obviously it considers how you can best support the work of gifted/talented pupils in perrforming, composing and listening activities in an integrated manner!
Savage, J. (2006) Meeting the Needs of Your Most Able Students in Music London, David Fulton Publishers
Link here
I actually taught music in England for four months at levels equivalent to grades 5-12 in the American school system. I was impressed with the scope and comprehensiveness of the requirements of the General Certificate of Secondary Education (GCSE) in music. The U.K. is definitely leaps head of the U.S. in developing a standard framework in which to offer a solid music education at the secondary level.
I think our respective systems have many strengths and weaknesses but could useful inform each other in a more constructive manner. I have a number of friends working in American universities but we only tend to catch up at the odd conference, etc. I’d be happy to work more closely with any schools/colleges/universities in the U.S. especially with those involved in what we call ‘initial teacher education’.